I look on these statues and think of the man who wrought them—think of him as I saw him every day six years ago, a pale, dissatisfied, restless man, whose hands were busy with uncongenial tasks, but whose brain was haunted with noble ideals, to which he was powerless to give form or substance. Opportunity, the ultimate test of all power, came to him and at last Congress voted ten thousand dollars to Horatio Stone to execute the statue of Alexander Hamilton in Rome. And, lo! the intangible vision of the weary man is embodied in imperishable marble—the most majestic statue beneath the dome of the Capitol. A little way before it is a plaster cast, mounted high on a wooden block, of Houdin’s bronze figure of Washington, the original of which is in the State Capitol at Richmond, Virginia. Such a peaked-headed, idiotic-looking Washington I never saw elsewhere. If he looked like this, it is perfectly plain why he passed through life without ever once having done anything naughty. But if he did look like this he was a stupid mortal to live with. Most of the marbles of our Pantheon are poorly set. Even the seraphic apostle of “soul liberty” stands on a box covered with cinnamon-colored cambric, and his martial brother does likewise. Abraham Lincoln is ensconced within an unpainted wooden fence, and the great lawgivers of Connecticut stand in their big cloaks upon cotton covered boxes. Mrs. Ames’ bust of “Lincoln” is poised on a handsome pedestal of Scotch granite; but, with few exceptions, though not utterly barren of fine marbles, the present aspect of the American Pantheon is chiefly suggestive of crudeness, shabbiness, and—the exorbitant necessity of spittoons. Over the entrance is a clock, having for its dial the wheels of a winged car, resting on a globe. In this car sits a lady called History, with a scroll and pen in hand. Oh! the story she could tell if she could tell the truth. Opposite, twenty-four Corinthian columns of variegated Potomac marble shoot to the roof, and shadow what was once the gallery of the Old Hall of Representatives. In the centre stands a horrid-looking plaster image of Liberty, modeled by Cansici; and under it the American bird, modeled from life and cut in sandstone by Volaperti. Besides, scattered about are portraits of Henry Clay, a mosaic portrait of Lincoln, by Signor Salviato of Venice, of Charles Carroll of Carrollton, and of Joshua Giddings. I have meant to pass nothing over that graces or disgraces our American Pantheon, that you, afar, may see it as it is. In itself it is the most majestic room in the Capitol. Set apart to enshrine the sculptured forms of illustrious dead, already its arches and alcoves are fraught with their living memoirs. Here Webster spoke, here Clay presided, here Adams died.